Behind the scenes at Utah Opera's theatrical dream factory

SALT LAKE CITY — The curtain has risen on Utah Opera's first performance of the season, and some of the opera's costume and scenic work is on display in "The Merry Widow." But there's much more than meets the eye going on inside Utah Opera's production studios.

In mid-December, in one corner of the opera's 70,000-square-foot production studio, fittings are underway for "The Merry Widow." Costume director Verona Green admires the durability of a costume designed in her shop over half a dozen years ago. "This isn't falling apart at all," Green said.

On the other side of the massive production house, scenic designers are wrapping up work on an elaborate set for "Aida." It was built from scratch in this workshop for the Sarasota, Florida, Opera.

Jared Porter is technical director for Utah Opera. "It's our job to create the actual engineering of it. We decide how it breaks down, how it comes apart and how it's going to go back together," says Porter.

"We got the bid, so away we go. It was a lot of painting, a lot of building, quite a process, but we got it, they (Sarasota Opera directors) like it, and it looks good," said John Cook, resident scenic artist for Utah Opera.

Building and then turning around and renting sets and costumes keeps this theatrical dream factory humming. And it helps the Utah Opera hang onto valuable artists.

"That is something we do so that we keep our people here in the shop busy, because we have artisans, and that's what I want to call them, because they aren't just somebody that sews, they are artisans," Green said.

They are artists whose work helps the opera not only survive but also thrive year-round. "Opera sets can range anywhere from $90,000 up to, we've built sets for $250,000," Porter said.

Michelle Peterson, Utah Opera Company manager, said the opera has "to be very, very creative whether it be for our own shows or take outside contracts and bids for other companies and keep our artisans working in this shop."

In that shop, designers are creating around the clock. Green and her staff have rarely been as busy as these last couple of months. "This is probably the most long stretch of fittings that we've ever done since I've worked at this company," Green said.

Fittings for a show like "The Merry Widow" take more than a snip and a hem. And design work on all new costumes for a March production of "Aida" is already beginning. "We're known for having things that hold together, that are built well," Green said.

Costumes for 45 shows are stored in a giant closet ready to support up to 20 productions each year. In fact, costume rentals net the opera more than a quarter of a million dollars annually.

"We feel very secure in what we have here, and it's an incredible resource for us," Peterson said.

It is a resource for the opera that Cook finds to be unique. "It's not the case to always have this much support behind you. The structure, the facility, the people," Cook said.

And it is a support system for Utah's theatrical community and artists from all over the country who come to Salt Lake to perform.

David Gately, director of this January's performances of "The Merry Widow," said, "Every department has incredibly talented people … sets, props, lights, costumes, wigs and makeup. Everybody, every department is first rate here."

One of the leads in "The Merry Widow" is Caroline Worra, a New York artist performing with Utah Opera for the first time. She plays Hanna Glawari, the Merry Widow. "It's such an honor to be here. I've always heard great things about this company, and to be in this beautiful Capitol Theatre is exciting," Worra said.

There are still three more performances of "The Merry Widow" by Utah Opera on Wednesday, Jan. 20 and Friday, Jan. 22, at 7:30 p.m. and a matinee at 2 p.m. on Sunday, Jan. 24.

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